By Walter Riso
Amores altamente peligrosos (libro electrónico)
“Creemos que el amor es infalible y olvidamos algo elemental para l. a. supervivencia amorosa: no todas las propuestas afectivas son convenientes para nuestro bienestar.” Walter Riso
¿Qué son los amores altamente peligrosos? Son aquellos que en lugar de aportarnos alegría, equilibrio emocional y satisfacción, representan una fuente de infelicidad y conflicto. Se trata de relaciones negativas con personas cuya conducta y actitudes ponen en riesgo tanto nuestra salud psicológica como nuestra integridad física, y de las cuales no siempre es fácil liberarse (entre otras cosas porque somos nosotros quienes contribuimos a sostenerlas).
En l. a. presente obra el reconocido terapeuta Walter Riso describe las distintas modalidades de estos vínculos enfermizos, desde el amor desconfiado hasta el violento, pasando por el indiferente, el pasivo-agresivo, el caótico, el subversivo, el perfeccionista, el egoísta y el hostigante. El objetivo es ayudarnos a reconocer dichas dinámicas y no caer en ellas.
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Cinema. movie examine. What a pity that the left hand infrequently is aware what the perfect hand is doing, and vice versa.
Thanks to the generosity of Girish Shambu, I’m the chuffed proprietor of a duplicate of Timothy Barnard’s retranslated, reselected, and annotated variation of André Bazin’s what's Cinema? , lately released in a good-looking hardcover via www. caboosebooks. com, established in Montreal, with Varvara Stepanova’s 1922 woodcut of Charlie Chaplin, Sharlo Takes a Bow, gracing the cover.
First, here's the choice: “Ontology of the Photographic Image,” “The fantasy of overall Cinema,” “On Jean Painlevé” (a brief fragment that Barnard has translated for the 1st time), “An advent to the Charlie Chaplin Persona,” “Monsieur Hulot and Time,” “William Wyler, the Jansenist of Mise en Scène,” “Editing Prohibited,” “The Evolution of movie Language,” “For an Impure Cinema: In safety of Adaptation,” “Diary of a rustic Priest and the Robert Bresson Style,” “Theatre and Film,” “Theatre and Film,” and “Cinematic Realism and the Italian institution of the Liberation”.
Regrettably, the 354-page e-book, with a ten-page Publisher’s Foreword, the aforementioned thirteen essays via Bazin, sixty one pages of worthy annotation, a mixed 19-page word list of movies and picture identify Index, and a six-page Index of Names, is unavailable to most folk open air of Canada, and for criminal purposes, together with copyright legislation, you can’t even order this from Canadian Amazon.
Although I’m a onetime translator of Bazin myself (Orson Welles: A serious View, ny: Harper & Row, 1978, reprinted through Acrobat Books in 1991), I recount in painstaking and a bit of painful element in my newest publication (Discovering Orson Welles, collage of California Press, pp. 62-65) why the overdue Tom Milne and (to a lesser volume) the past due Jill Forbes most likely deserve as a lot of the credits for this paintings as I do — even supposing i will be able to take credits with fewer qualms for the enhancing of this quantity, together with François Truffaut’s first-class 27-page Foreword. I may still upload that my almost boundless admiration for Bazin has way more to do along with his abilities as a journalist, critic, and author of essays than his abilities as a theorist — which curiosity me much less, despite their noticeable value, but appear to contain a superb eighty five% of his curiosity for many teachers, judging via what they’ve written approximately him. this can be mostly simply because I’m a journalist, critic, and author of essays yet now not a theorist myself.
In any case, there appears to be like little doubt in my brain that Barnard’s translation of Bazin is tremendously better to that of Hugh grey within the volumes released by way of the collage of California Press (and so much lately reprinted in 2004, with separate new Forewords by means of Dudley Andrew and a two-sentence blurb through me at the again cover). I’m in particular fascinated with the smooth movement of the interpretation and with what I’ve learn of the notes, together with a 20-page dialogue of the right that means of the French time period découpage and its specific significance for Bazin. I’ve formerly depended on Noël Burch’s gloss in this time period within the first paragraphs of his 1969 ebook Praxis du cinéma, translated in 1973 as idea of movie perform, and Barnard is perhaps right is exhibiting a few skepticism in the direction of Burch’s Francophile bias — notwithstanding I may still word in passing that the one mistakes I’ve noticed thus far in Barnard’s textual content is assigning articles to either the French and English titles of Burch’s booklet, Un and The.
Far extra heavily, Barnard takes prolonged factor (over a stretch of approximately 5 pages) with David Bordwell over his personal discussions of découpage. I don’t think certified to take aspects during this debate, yet I do locate it attention-grabbing and really worth wondering, particularly because the time period for me has continuously pointed in the direction of a definite incompleteness or inadequacy approximately a lot mise en scène feedback in addition to what should be termed montage feedback. In any occasion, i'm hoping that the trouble such a lot non-Americans could have in buying Barnard’s ebook won’t instantly avoid the potential of a reaction from Bordwell sooner or later, seeing that i might locate his enter welcome.
More more often than not, the final challenge of conversation inside of educational movie research — the left hand realizing what the best hand is doing — turns out much more acute if one considers the almost simultaneous visual appeal of Barnard’s booklet and Bart Cardullo’s new translations of 2 Bazin essays in brilliant lighting. the sort of essays, “Fifteen Years of French Cinema” (1957), is, to the easiest of my wisdom, showing in English for the 1st time; the opposite, “Monsieur Hulot and Time” (1953), has seemed in at the very least past English translations — one through Walter Albert that used to be incorporated in Lucy Fischer’s another way particularly lifeless Jacques Tati: A consultant to References and assets (Boston: G. ok. corridor, 1983), the opposite by means of Barnard in his new publication. but Cardullo optimistically notes in his prefaces to either essays that every one “is translated into English the following for the 1st time with the written permission of [Bazin's] past due spouse, Janine Bazin. ” i assume that this would be taken to intend that the opposite translators didn’t gather the widow’s permission, yet actually it seems that Cardullo is ignorant of the opposite translations. (I should still upload that Cardullo formerly edited and in part translated one other mammoth selection of Bazin in English — Bazin at paintings [New York/London: Routledge, 1997]. )
Meanwhile, I’m thoroughly in the dead of night approximately what’s occurred with (or to) Emmanuel Burdeau’s very formidable venture to submit for the 1st time a “complete” variation of Bazin in French. This used to be presupposed to have occurred at Cahiers du Cinéma‘s book-publishing arm, and for all i do know possibly it nonetheless will. yet Burdeau has lately left the journal following its sale, or even ahead of that he all started a movie booklet sequence of his personal at Capricci, 4 of whose titles I’ve already written approximately in this web site. I’m thoroughly ignorant approximately what’s occurred to this undertaking, so it isn’t so brilliant that Cardullo didn’t learn about Albert or Barnard and so much English-speaking movie students can have a hell of a time getting ahold of Barnard’s publication whether they take place to listen to approximately it. regardless of the interactivity of the net, chances are you'll say we’re all pretty well at sea. (Jonathan Rosenbaum, 5/4/09)
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